Disquiet Junto Project 0475: Low End

Special Note: You can contribute more than one track this week. Usually Junto projects have a one-track-per-participant limit. This week you can do a second one. Please see additional details in Step 4 below.

Answer to Frequent Question: You don’t need to have participated in any of the recent solos, duets, or trios projects to participate in this one.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is the end of the day Monday, February 8, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 4, 2021.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0475: Low End (4 of 3)

The Assignment: Remix a trio by doing forensics on its component parts.

Step 1: This week will involve remixing. The past three weeks, we’ve produced a large number of trios. These have been the result of a sequence of steps: first someone made a solo, then someone else turned it into a duet, and then someone else added a third element, making a completed work in the form of a trio. This week you will be remixing one of these trios, which you will source from the previous week’s Junto project (disquiet.com/0475).

Step 2: First, you must select the piece of music you will remixing. There are over 65 tracks in all to choose from, 62 as part of this playlist:


And these four others. Consider the first to be number 63, and then in sequence to number 66:





To select a track, you can listen through all that (warning: it’s a lot) and choose one, or you can use a random number generator. (Note: it’s fine if more than one person uses the same original track as the basis for their piece.)

Step 3: The simply stated goal is to remix the trio resulting from your selection process in Step 2. However, it is strongly encouraged that you locate the duet and the solo on which the trio is founded, and that you then employ those three tracks in your work. (In past projects like this one, some musicians have essentially extracted the other half of the duet by “removing” the solo from it, and done the same with the trio versus the duet.)

Step 4: As with last week, you can contribute more than one track this week. You can do up to two total. If you choose to do a second, you should preferably try to use a duet track that no one else has used yet. The goal is for many as people as possible to benefit from the experience of being part of an asynchronous collaboration. After a lot of detailed instruction, that is the spirit of this project.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0475” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0475” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your tracks in the following discussion thread at llllllll.co:


Step 5: Annotate your tracks with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, February 8, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 4, 2021.

Length: The length is up to you. Go long, or keep it tight, or somewhere in between.

Title/Tag: When posting your tracks, please include “disquiet0475” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 475th weekly Disquiet Junto project – Low End (4 of 3) / The Assignment: Remix a trio by doing forensics on its component parts – at:


More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Images associated with this project are by (left to right) Meg Jones, Israel Avila, and orangechallenger, all used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:






The project is now live. Thanks, everyone.

@renegog @rhein and @wasabicube Leery Disquiet0474 by colmkil | Free Listening on SoundCloud

thinking about reduction and artefacts and post-processing
i isolated the centre channel in audacity which messed it up a bit, then removed the centre channel from another copy
saved it again
pulled into audition, played with the new de-reverb function which doesnt work but messes it up in a fun way
then added high frequency echoes and reduced some of the low end

also i’d already done a mix of @Pineyb @wagneric and my track but it was the opposite of forensic so it’s a non-submission slowslow semiotics (sevmix) | piney b / wagneric / sevenism | sevenism


I quickly read over Marc’s email and knew exactly what I wanted to see.

In fact, I could see this track before I heard it.

I’ve taken my drums from the first round and added them to my accompaniment of @Noimspartacus’ Orphaned Loop from the second round.

Then added a lot of fuzz to everything!

Looking back over the email, I can see it’s not following the directions but I’ll do a better job for my next submission.


Relentless dance party remix… Of “Somebody’s Gonna Leave” by Torsten Goerke @kn00t , Daniel Diaz @DeDe and David Gibbs

Listen on something other than laptop speakers…


I used a random number generator. Got nr 55. K Joule - Le Chant Du Loup(disquiet0474). @Joule . He competed the trio assignment using works of @Mikash69 and @Chris_Ledwidge. I used Chris_Ledwidge piano piece in disquiet 073. :smiley:
I took pieces of the track and loaded it in to my SP-404SX, together with a drone tone… Bordun…? And drums. Drone and drums was made on modular synth. I wanted an unpleasant edge on the track.
“doing forensics”… Didn’t…


Before I do the project itself I wanted to prepare & share stems of the parts I worked on for anyone who may want to use them.

1 Like

One thing I realized I neglected to mention in the instructions: It might be enjoyable to rework a trio in which your own solo or duet was employed.


Today I worked on the Accension series by moduS ponY, Euclidean~~~ and Fnubi. When I compared my result with the trio version I found there is only small difference. Technically I added the loop track by Euclidean~~~ as the sidechain source to compress the New Ascension by Fnubi. I also gave Valhalla Supermassive a try after reading that it’s free (thanks @Anatol). Mixed in Reason Studio.



Low End

  • Key: G minor BPM: 120 Time signature: 4/4 DAW: Reaper
  • Instruments: n/a
  • Plug-ins: n/a
  • Chose project #51 to remix. Used a random number generator for this step.
  • Starship Clock Engine Room
  • Downloaded all 3 projects – 472,473 and 474 which will be used for the remix
  • Put each project on its own track
  • Used automation and FX to remix

Each project was put on its own track. Slight granular effect added to piano.Tried to use EQ so not too much doubling of sound was going on. Added some phaser, tape delay and stereo motion effects. Used channel strips to make the result sound better.


For my second remix I’ve added a bassline and drum beat to ‘Trei’ by @ohm Research and @undermulden and High Towers and Deep Wells.

Their track has been reversed and I’m not not totally happy with how mushy the bottom sounds but have run out of patience trying to fix it.


The playlist is now rolling:


I used a RNG and got 23 which I took as a good omen. By my counting that meant Ray Cobley’s Noise Tryptych was my track(Noise Triptych (disquiet0474) by ray_cobley | Ray Cobley | Free Listening on SoundCloud).
I liked the ominous, relentless rhythm of the finger clicks and clock ticking but wanted to screw around with the sense of time. I separated the left and right channels of Untilled Sound’s Noise 94 Noise 94 [disquiet0473] by UntilledSound | Untilled Sound | Free Listening on SoundCloud
and K-blamo’s Recording93 Recording.93.disquiet0472 by k-blamo | K Blamo | Free Listening on SoundCloud.
I tried inverting the duet file and playing it back with Noise Tryptych to isolate the third part of the trio and ran the result through my modular. I played the other tracks through a looper and messed around with the modulation of there playback to smear out the regular pulse into a more jittery woozy feel.


Remix of “Desert Resync” by MtnViewMark-Bits, Northern-flight and Torsten Goerke.

I tried to support the beautiful atmosphere of this track and sent the whole piece in the Sherman Filterbank II while turning the knobs to get some feedback, overtones and saturation.


  • Filter 2 synced to filter one with two octaves distance in serial mode
  • Dry/wet at 50%
  • Filterbank outputs slightly panned to left and right
  • In the first 15 seconds the envelope follower is working
  • Frequency, resonance 1 and 2 is slowly increasing and changing over the complete track
  • 0:47 a tiny bit of FM and AM
  • 1:20 changed characteristic of filter 2 (more high frequency’s)
  • Added NI Raum to the whole track and automated on the last sounds the reverb decay to infinity.

Hope You like it!


I did a remix of the piece by Geoffroy (@g_montel), Evan Hartzell (@k-blamo) and Tsa Tse (@tsa-tse). The “forensics” are written in the soundcloud comment. Some details on the mixing process.

  • created single tracks from all the base pieces using stereo splitting and “Voice reduction and isolation” plugin in Audacity.
  • loaded this tracks into Reason Studio:Grain Sample Manipulator (some nice track labels here: Bongos Splitt Jitter, Flutes VHS Trassel and Taylor Infinity Cloud)
  • played samples as instruments
  • added stereo spread and fx
  • finally I reversed one bongos track

I hope you like the result.

Edit: I changed the master volume and re-uploded the track. Hope all still works.


Clicked randomly through the list until I heard @chaonaut 's work based on the collab between @BennDeMole and @Noimspartacus. Pulled out some of my older Roland gear that had been gathering dust somewhere. After searching for an hour for the right power connector, I dug in. Added some more sounds with the Microfreak’s new SawX oscillator (with Noise Engineering), which has a great noisy sound quality that you can modulate in many ways. Also added some filtering on a doubled track of the original and played with some automation here and there.


I decided to use this piece: Unsafe approach (Disquiet 0474) by melondruie | Free Listening on SoundCloud by @melondruie which built on previous tracks by @[rheinmusic] Safe - Center by rhein | Free Listening on SoundCloud & @winterer

I wanted to work in a way I’ve never tried before. Which is to extract small loops from a very specific part of the track and feed them into a electro-harmonix 4500 and just live record mixing in and out the different tracks. I made the mistake early on of not using any stems and just trying to EQ out the bits I don’t want for each layer. That meant I had a massive build up mid frequency mud which I tried to remove but at the expense of losing a lot of the warmth and body of the track. I didn’t quite overcome that balance, so its a bit muted feeling (very much so on headphones for some reason, I couldn’t get away from this sense that its very far off and distant), but I enjoyed trying out working in a new way.


I went for the piece Policing the Docks from Zoundsabar, Chaonaut, and Dave I. Gibbs.

First I extracted four-bar loops from the original source. Second, I treated them in the Kontakt Ensemble „Cycles“ from Slater & Ash, which is perfect if you want pulses that can go on a grid. Third part was arranging way too many bits, and finding some parts that could form a melody, which took at the longest. Lastly I added two shakers and some simple drums.

Normally, the piece would sit there for a week, but as it’s the Disquiet Junto, it has to go tonight. Oh, and the intro reminded me of the chase sequence in detective story, hence the name.


I random generated the number “2” and remixed the great trio track halF policE [disquiet0474] - with Yasha and jasonw22 by halF unusuaL | Free Listening on SoundCloud @halF_unusuaL that was based on Chopped Duck Ham [disquiet0473] by Yasha | Free Listening on SoundCloud @Yasha and Chopped Jam - disquiet0472 by jasonw22 | Jason Wehmhoener | Free Listening on SoundCloud @jasonw22

I actually liked the track as it was so I wanted to see if I could rearrange, just a tad, and make it more mellow AND frantic :smiley:

I separated the Duet tracks and morphed them together so Yasha’s mellow keys are warped and shaped by Jason’s chopped up beats, creating a nice movement.
I then used Ozone to solo the mid signal in the Trio track, separating Halfu’s fx and instrumentation.
The three tracks were then stacked and routed to act as modulation control signals in there individual signal chains and crossed to modulate each other through additional fx chains. I used a lot of PanMan and ReaGate to create dynamic processing at different thresholds.

I made everything in REAPER and rerecorded the voiceover from a random youtube video on pipe bending.